The purpose of this document is to examine the Spanish folk elements used in original compositions for the harp written by the Spanish composers Jesus Guridi, Gerardo Gombau and Victorino Echevarria. The document demonstrates that the harp is particularly suitable to convey the essence of the rhythmic, harmonic and melodic elements of traditional Spanish folk music. Spanish composers, particularly Jesus Guridi (Viejo Zortzico) Gerardo Gombau (Apunte Betico) and Victorino Echevarria (Capricho Andaluz), adapted elements of Spanish folk music such as cante jondo to create original nationalistic music that is idiomatic for the harp, resulting in effective concert pieces for the instrument's repertoire. The first chapter is devoted to the arrival and development of the harp in Spain. The second chapter discusses a history of the harp department at the Real Conservatorio Superior de Musica of Madrid which was established in 1830. This chapter also includes biographical and historical information about harp professors that taught there and the role that this conservatory played in developing distinctive Spanish compositions for the modern harp. Chapter three will discuss the harpists who inspired twenty-century Spanish composers. The subsequent three chapters will cover Jesus Guridi's, Gerardo Gombaus and Victorino Echevarria's lives, influences, and an analysis of their harp compositions: Viejo Zortzico , Apunte Betico and Capricho Andaluz respectively, highlight the Spanish folk elements used, and how composers incorporated these elements into their compositions to create a distinctive sound and fascinating show pieces for the concert harpist.

The purpose of this document is to examine the Spanish folk elements used in original compositions for the harp written by the Spanish composers Jesus Guridi, Gerardo Gombau and Victorino Echevarria. The document demonstrates that the harp is particularly suitable to convey the essence of the rhythmic, harmonic and melodic elements of traditional Spanish folk music. Spanish composers, particularly Jesus Guridi (Viejo Zortzico) Gerardo Gombau (Apunte Betico) and Victorino Echevarria (Capricho Andaluz), adapted elements of Spanish folk music such as cante jondo to create original nationalistic music that is idiomatic for the harp, resulting in effective concert pieces for the instrument's repertoire. The first chapter is devoted to the arrival and development of the harp in Spain. The second chapter discusses a history of the harp department at the Real Conservatorio Superior de Musica of Madrid which was established in 1830. This chapter also includes biographical and historical information about harp professors that taught there and the role that this conservatory played in developing distinctive Spanish compositions for the modern harp. Chapter three will discuss the harpists who inspired twenty-century Spanish composers. The subsequent three chapters will cover Jesus Guridi's, Gerardo Gombaus and Victorino Echevarria's lives, influences, and an analysis of their harp compositions: Viejo Zortzico , Apunte Betico and Capricho Andaluz respectively, highlight the Spanish folk elements used, and how composers incorporated these elements into their compositions to create a distinctive sound and fascinating show pieces for the concert harpist.

en_US

dc.type

text

en_US

dc.type

Dissertation-Reproduction (electronic)

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dc.subject

Biography.

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dc.subject

Folklore.

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dc.subject

Music.

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thesis.degree.name

D.M.A.

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thesis.degree.level

doctoral

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thesis.degree.discipline

Graduate College

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thesis.degree.discipline

Music and Dance

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thesis.degree.grantor

University of Arizona

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dc.contributor.advisor

McLaughlin, Carrol

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dc.identifier.proquest

3177536

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dc.identifier.bibrecord

.b49001267

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